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buddhism
ICH Elements 30
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Choe-lhag-ni: Scripture Recitation
Choe-lhag-ni is a Dzongkha (National Language) term for recitation of Buddhist scriptures especially Sanskrit Tripitaka at the various religious institutions or at the individual houses by either a monk, lay monks or by ourselves. Reading scripture is not only one a virtuous act (ge-wi-la) in accumulating merits to oneself but also helps other to arouse faith and aids in realizing the Buddhahood nature. It also a ritual (rim-dro) which helps in clearing and overcoming the obstacles and hindrance created by malicious spirits our daily activities and purifies our sins and defilements as well. While conducting Choe-lhag-ni program, the reader or the reciter is normally called Choe-neb and Choe-yon or Jin-dha for sponsors and patrons. Normally, such program can be conducted or organized as an annual program or carryout as and when there are sicknesses or can when an astrologer or a Spiritual masters either advices or make divination. This Dharma activity is always conducted in consultation with astrologer or a Spiritual masters seeking favourable elements that coincides Lha-za (spirit/vital-day) and if not possible, then on the Sog-za (life-force day) of either a sick person or the main family member. Performing on that particular day is said to be more effective and beneficial than conducting on other days which are called Gang-tong (neutral days). It is instructed and also believed not to conduct any virtuous activities be it the Recitation of Scriptures on Shey-za (bad days) as it causes harm than benefiting oneself and the patrons. As mentioned above, recitation of whole set of Tripitaka comprise two sets namely; Kan-guyr (direct word of Buddha) with 99-108 volumes and Ten-gyur (its commentaries) with 200-228 volumes is a great and enormous activity which one need huge number of readers as well as enough financial assets for an individual therefore, Institutions such as; Monastic body, government’s initiative or a joint private individuals can only organize such program intendent for wellbeing of sentient beings and particularly to the people of the country. In a rare case, out of interest, benefit the sentient beings or to enlighten oneself, an individual sometimes engage themselves in reading whole Kan-gyur volumes. Normally, Buddhist followers who want to clear the unforeseen obstacles, ward off illnesses, counterforce mishaps and sometimes as a routine basis reads mostly either 16 volumes of Skt. Prajnaparamita (Perfection of wisdom Sutras) and more often the single volume called Do-mang or Zung-due, where there is numerous collection of important Buddhist texts. Reciters or readers can be a person or more depending on the sponsor’s wish nevertheless, often if the recitation is not in haste or an emergency then, a person will stay in the sponsor’s house until the completion of the scripture. But, in case a ritual of a sick person and have limited time, the patron will invite numbers of Reciters as to complete the whole set in a day. The tradition of reading Buddhist scriptures for wellbeing and performing meritorious deeds had been common from the days of Buddha Shakyamuni in India. Having translated these teachings translated into Tibetan as early as 7th century and thereafter, introduced the tradition of reading them. Later in the 8th century, when King Thrisong Detsan (755-797 or 804) was having the Indian Dharma translated into Tibetan, the translator Ba Ratna Manju (?) was translating the greater Prajnaparamita Sutra. In his dream, he saw the entire land of Tibet was filled with the scripture of Prajnaparamita. This was an omen that there would be purely Mahayana practitioners born in the land of Tibet. When looking at the Prajna of hearing and contemplating in the mountainous land of Tibet, though training was done in all the schools, the experiences in Drub-jue sing-ta-gyed (Eight Chariots of Practice Lineage) in all the four Schools of Dharma Tradition are essentially Mahayana, and particularly the practice in the Sa-ngag (Secret Mantra) is as per the prediction of this omen. When Ba Ratna Manju offered this to the King, the king was pleased, brushed his hand over his head and gave great rewards for his services. It also shows the King’s deep faith in the Prajnaparamita Sutra. As much as his faith in this outstanding text among all the excellent teachings, it was King Thrisong Deutsan who had started the tradition of reading the scriptures in Tibet. It is said that the twelve volumes of Bum (hundred thousand stanza) scripts used to be read, from beginning to end every morning by dividing the scriptures among some 300 monks at Samye Monastery, Tibet. From Tibet, the tradition gradually flourished to the neighbouring countries including Bhutan which the people of Bhutan still practice the culture not only for remedial purpose but also to uphold the sacred doctrine and inculcating the faith to the future generations. However, the modernization couldn’t make much affect for this reading culture while it had somewhat impacted other ICH for its survival.
Bhutan -
Poe-zo: Incense making
An artistic product often like a stick or a bunch of sticks basically made from powders of mixed aromatic plants and medicinal substances. It emits sweet fragrance smoke when burnt and normally offered in and at the sacred places to please deities and to get cleansed and rid-off defilements. The production of incense is considered one of the religious crafts, and it is another way of making Sang (smoke) offering. According to the Bhutanese artisans’, the craftsmanship dates back to the time immemorable when the first Lord Buddha Nam-par zig-pa (Skt. Bispa shayi) attained enlightenment and offered the Sweet Fragrance smoke by burning the Incenses by the enlightened beings; celestial beings and Bodhiasattavas made from varieties of heavenly medicinal herbs. The tradition gradually spread in the spheres of Bonpos (per Buddhist religion of Tibet) and Hinduism and maintained its skill until Buddha Sakya Muni’s period which is about 2500 years back then. The art was also adopted by the Chinese Buddhist missioners and further spread to Mongolia, Korea and Japan as well. In Tibet, the making Smoke offerings and burning incense was officially implemented the 7th Century during the reign of King Songtsen Gampo (R. 618 AD- 650 AD) when Princess Wenchang (M. 641 AD-650 AD) and her entourage members suffered illness while heading towards Lhasa (then, the capital of Tibet) as bride to the King. The Princess tried to medicated using physician attendants but could not bring to the normal yet, by offering the smoke offering made attendants fully recovered. The instruction to make Smoke Offering was from the Minister Thonmi Sambota () who had a visualization from the sacred Sakya Muni images to collect the medicinal herbs from the mountains and making smokes will ease any diseases associated to Nagas. Later, incense making and burning tradition was gradually invented using the same raw materials and medicinal ingredients of Smoke offering. In Bhutan, the art of Incense making was brought by the Country Unifier Zhabdrung Ngawang Namgyal (1594-1654) and was initially practiced in the Dzongs (fortress) by the monk artisans. Thereafter, the tradition remained intact amongst the Bhutanese being the Buddhist and making offering of incense had been a daily special offering substances in the individual shrines, temples and monasteries. Currently, there are a countable incense manufacturing centers across the country. These industries produce mainly two different incenses: Ja-ju poe (herbal incense) with a yellowish texture and Zu-poe or Choe-jue poe (incense mixed with flesh and blood ingredients) with a brown color. Ja-ju incense is usually burned explicitly for the enlightened beings and when performing Drol-chog (ritual of Goddess Tara), while the other is offered to the guardian deities and guardian spirits during affirmation rituals.
Bhutan -
Gar-chham: Mask Dance
Every year, during the months of September to April, the festivals of Tshechu, Rabney, Mani, Me-wang, Choed-pa, Due-choed, Yak-choed, Drub and Drub-chen are conducted simultaneously at various heritage sites; Dzongs (fortresses), monasteries and temples in Bhutan. This event transforms the sites into decorated places filled with offerings in the shrines and the surroundings filled with the resonance of religious musical instruments. It also brings together monks and local communities to jointly perform propitiation and affirmation rituals for the patron deities, along with the presentation of various sacred mask dances. People gather with most enchanting dresses to receive the blessings, say prayers and enjoy the much-awaited festive event. These sensational dances are generally called Gar-chham which derived from Buddhist terminology. The term gar-chham is composed of two verbs: gar and chham. The various gestures exhibited by the hands are called Gar, whereas the manner of the legs is called Chham. Gar\u0002chham is considered one of the means of liberation called thong-drol (liberation through seeing), as it helps to mature and realize the primordial Buddha-nature, and reminds one to engage in wholesome activities. In the 8th century, Guru Padmasambava, a great Buddhist tantric master introduced the Gar-chham concept in Bhutan and also into the Buddhist tradition in 737 AD. This concept was further popularized by Terton (The Treasurer Revealer) Pema Lingpa (1450-1521) by introducing many sacred mask dances, mostly performed by laymen (community members). These performances are called Boe-chham. Zhabdrung Ngawang Namgyal (1594-1651) also placed more emphasis on the importance of these dances and included them in the curricula of the central monastery under the title Gar-thig-yang-sum (Mask Dances, Proportions Mandala Drawing and Ritual Intonation) to embed them in the realm of cultural heritage. The gar-chhams performed by monks are called Tsun-chham. Whether Tsun-chham or Boe-chham, gar-chhams are generally divided into three broad categories: Trul-pai zu-thrul gi gar-chham (manifested mask dances), Ka-ter dag-nang gi gar-chham (visualized mask dances), and Nam-thar zhi-chol gi gar-chham (biography-based mask dances). The subjugation of evil spirits and the liberation of their impure soul into the realm of Buddhahood through manifestation into pacifying, enriching, magnetizing, and wrathful forms are called trul-pai zu-thrul gi gar-chham. An example of this dance is the dance of the Eight Manifestations of Guru Padmasambava. Similarly, ka-ter dag-nang gi gar-chham are the profound performances of the guardian deities witnessed during the intermediate state of all the sentient beings. Some examples of such performances are the mask dances introduced by Terton Pema Lingpa. Finally, Nam-thar zhi-chol gi gar-chham are performances identical to plays based on well-known biographies. These performances convey the righteous human values that lead to a harmonious life. One of the most popular plays is the mask dance of the Intermediate State after death. Tsun-chham or Boe-chham can be easily distinguished from the masked dance costumes. The Tsun-chham usually wears a brocade tunic with long and wide sleeves, while the boe-chham performers wear more colorful garments made of brocade and silk. In addition to the central monastic institutions, there are indigenous gar-chhams in communities and private temples and monasteries throughout the country, where community members are usually involved in organizing the event, performing the mask dance and presenting folk dances to safeguard their tradition.
Bhutan -
Meri Pun-sum: The Three Brothers’ Hills
When you arrive in Haa, you are greeted by three giant identical hills rising steeply to the west, known as Miri Pun Sum, also styled as Miri Pun Suum or sometimes Me Rig Puen Sum: The Three Brothers Hills or The Three Sisters Hills. Located on the border between Kartshog and Uesu Gewog, one can admire the aligned hills in the middle of Haa Valley. For centuries, the Miri Pun Sum has been worshipped as the abode and embodiment of the Rig-sum Gonpo, Lords of the Three Families: with Jampleyang or Manjushiri on the left; Chenrizig or Avalokiteshvara in the middle; and Chana Dorje Vajrapani on the right. These three deities are considered the most important deities in the Vajrayana Buddhist pantheon, Miri Pun Sum symbolizes and emplaces them in the landscape, so they are worshipped as guardian deities protecting the Haa Valley. Legend has it that people suddenly appeared out of nowhere from Miri Pun Sum, and built the Lhakhang temple of Karpo and Nagpo, which stands in front of the three hills today. It is also believed that this sudden appearance of people from these three hills gave the place its name "Ha". Locals believe that the three hills themselves embody Buddhist powerful beings, and each is associated with a village as well. The people of the Bji and Kartshog Gewog village block are represented by the hill of Chana Dorji, the Vajrapani bodhisattva; they are known to be darker and tougher than their neighbors. While the notoriously meek people of the Uesu gewog are represented by the hill of Chenrizig, the Avaloketeshvara bodhisattva of compassion. Finally, Samar, Gakiling, and Sangbay gewogs are represented by the hill of Jampelyang, Manjushri bodhisattva of wisdom, to reflect their gentle, down-to-earth, and easygoing nature. People also believe that the collective welfare of Haaps depends on the condition of Miri Pun Sum, which is why the Haaps protect the three hills with great reverence. Locals believe that the Miri Pun Sum maintain peace in the valley. It is also believed that these three hills are responsible for rain, harvest, and prosperity of the families. Only when in the presence of these majestic hills can one truly fathom and appreciate this unique, fascinating landscape. Miri Pun Suum is considered a sacred landmark, revered by all Haaps with great respect and devotion. Since time immemorial, Haaps have offered Soel-kha propitiation rituals to Miri Pun Sum. In 2013, under the leadership of the Lhayul-kha people, the Haaps officially erected a Lha-chhim deity shrine in front of Miri Pun Sum to specifically perform Mang-chhoe, a great offering ritual for the welfare of the entire population, or Soel-kha for Miri Pun Sum. This Mang-chhoe is performed annually on the 30th day of the twelfth lunar month. The Lha-chhim is looked after by two administrators whose posts are filled alternately by the residents of Lhayulkha village.
Bhutan
ICH Materials 24
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Chầu Văn Rituals of the Việt in Nam Định Province - Props for a Lên đồng ritual
The Chầu văn rituals of the Việt people are a form of complex ritual and cultural expression that is closely connected to the worshipping of the mother goddesses of the four realms and the Mẫu Tứ phủ Saint worshiping cult. The rituals include receiving incarnations of the deities and văn singing (chầu văn singing). They and are conducted by an incense holder, practitioners, musicians, and assistants to the practitioners in front of altars at temples, castles, palaces, and shrines.
Viet Nam -
Chầu Văn Rituals of the Việt in Nam Định Province - Medium Nguyễn Thanh Hải (age 46) in the role of the Saint Trần
The Chầu văn rituals of the Việt people are a form of complex ritual and cultural expression that is closely connected to the worshipping of the mother goddesses of the four realms and the Mẫu Tứ phủ Saint worshiping cult. The rituals include receiving incarnations of the deities and văn singing (chầu văn singing). They and are conducted by an incense holder, practitioners, musicians, and assistants to the practitioners in front of altars at temples, castles, palaces, and shrines.
Viet Nam
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Yeondeunghoe (Lantern Lighting Festival), Welcoming the Post-Covid EraOn April 15, the Ministry of Health and Welfare in Korea announced that all measures of social distancing will be lifted from April 18, after about two years and one month. From this day on, many fields are expected to normalize as pre-COVID-19, and festivals and events are also in the mood to be revived.\n\nYeondeunghoe, the Lotus Lantern Festival in Korea was originally held every year before Buddha’s Birthday (April 8th in the lunar calendar), but due to COIVID-19, it could not be held normally in 2020 and 2021. Coincidentally, Yeondeunghoe was registered as an Intangible Cultural Heritage of Humanity by UNESCO in 2020 when the COVID-19 outbreak was rampant. The Yeondeunghoe Preservation Committee, which organizes the event, declared that the event will be held normally this year. Based on Jogyesa Temple in Seoul, the event began on April 5 this year and will run until Buddha’s birthday (May 8 this year).\n\nAccording to the Standard Korean Dictionary, “Yeondeunghoe originated in Silla as a ritual to light a light and pray for good fortune on the birthday of Buddha, and was held on the fifteenth day of the first lunar month during the reign of King Taejo of Goryeo. In the first year of King Hyeonjong’s reign (1010), it was changed to the 15th day of February.” The festival continues from the period of the northern and southern kingdoms through the Goryeo period, the Joseon period, and the Japanese colonial period to the present day. Since Buddhism was introduced to Korea, the festival has been an important cultural event for both the royal court and the common people. Historically, Yeondeunghoe in Goryeo period, which was held as a national event, had the greatest social function, and it also functioned as an important cultural event and festival for the common people. Even in the Joseon Dynasty, when Confucianism was a national ideology, Yeondeunghoe functioned as an important cultural event and festival for the common people. While the festival of Silla and Goryeo, which were Buddhist countries, had a strong national and religious color, the festival of Joseon, which was a Confucian country, was more a private event than a religious event. Even today, the lantern festival has become an important cultural event for the public and has become a citizen’s festival that non-Buddhists can enjoy. The event is largely composed of a ceremony to bathe the baby Buddha, a procession of lanterns, and a Buddhist ceremony.\n\nThe ICH values of the “Yeondeunghoe, Korea Lantern Festival,” which was recognized through UNESCO’s list of intangible cultural heritages in 2020, are as follows.\n\n“Yeondeunghoe is a festival in which all people, regardless of gender or age, participate as equal members of society. In particular, the active participation of women and children stands out in the festival. Although patriarchal culture has long been strongly entrenched in Korean society, Yeondeunghoe serves as an opportunity to uplift women and children in particular. Traditionally, for young people, the festival has been an effective means of expressing their creativity by experimenting with various shapes and colors of lanterns. Yeondeunghoe contributes to social cohesion. Lantern festivals are usually a place to share joy and happiness, but in times of social adversity, they unite society and help people overcome the problems they face. In 2014, when the whole country was shocked and grieved by the tragic Sewol ferry accident, all pre-planned Lotus Lantern events were canceled and the following new topics were announced. “Sharing sorrow and gathering hope.” This shows that Yeondeunghoe is being performed in a close relationship with society’s interest and the sentiments of the times.”\n\nYeondeunghoe, which has been transmitted to this day, has become a precious event that has shared joys and sorrows with the public for a long time beyond its religious significance. Since 2020, many people are living a difficult daily life that they have never experienced before due to COVID-19. After three years, the streets are back with the lanterns. That is why the meaning of the Yeondeunghoe, which we will meet for the first time after the dark of era of COVID-19, and which has not yet been fully lifted, is even more special. I hope that the Yeondeunghoe, which has revealed the emotions of the times and the value of life, can be a light of comfort and hope to those who have been exhausted from the pandemic over the past three years.\n\nphoto 1 : Lantern Lighting Festival 2022 © Republic of Korea, CC BY-SA 2.0, Changed: Size, Level\nphoto 2 : Lantern Lighting Festival © Cultural Heritage Administration of Korea, KOGL Type1, Changed: Size, Level\nphoto 3 : Lantern Lighting Festival 2001 © Pravin Premkumar, CC BY 2.0Year2022NationSouth Korea
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Poe (Incense sticks) Production in BhutanThe burning of incense in the sacred shrines of Buddhist monasteries, temples, and also in the consecrated spaces that house the representations of the supreme spiritual beings is considered a kind of offering of sweet fragrances to the enlightened beings and also has the power to purify the impurities associated with us in any form that prevent us from realizing the innate Buddha nature and receiving the blessings. For this reason, incense is crucial in the performance of any type of ritual in the world of Buddhism. In general, burning herbs and making smoke offerings outdoors and burning incense in shrines have the same meaning and benefit; to purify defilements, pacify spirits, accumulate merit for oneself, and connect people to the spiritual world.\n\nThe production of incense is considered one of the religious crafts, as the product is used exclusively for religious purposes. There are two different types of incense: Ja-ju poe (herbal incense) with a yellowish texture and Zu-poe or Choe-jue poe (incense mixed with flesh and blood ingredients) with a brown color. Ja-ju incense is usually burned explicitly for the enlightened beings and when performing Drol-chog (ritual of Goddess Tara) and Rio-sang-chod (smoke offering at the summit of ridges and mountain to attract good fortunes), rituals associated to Nagas (subterrain sentient beings), while the other is offered to the guardian deities and guardian spirits during affirmation rituals.\n\nThe basic raw materials for both incenses are: Powder of Shug-pa (juniper), Tsen-den (weeping cypress), Balu (Rhododendron ciliatum), Sulu (Rhododendron setosum), Aru (Terminalia chebula), Baru (Terminalia bellirica), Manu (Inula racemosa Hook. f), Ruta (Saussurea lappa), Pang-poe (Valeriana officinalis) and water extracted from Zangdrug; (six valuable substances) Chu-gang (bamboo pitch), Gur-gum (saffron), Li-shi (clove), Ka-ko-la (cardamom), Za-ti (nutmeg), Sug-mel (cubeb) Ga-bur (camphor) and also Tsho (colours). When special ingredients such as Kar gsum; (three white substances) milk, curd and butter and an additional mixture of Ngar-gsum; (three sweet substances) brown sugar, molasses and honey are added to these mixed powders, the product becomes herbal incense and similarly, various ingredients of special animal meat, blood, La-tsi (musk), Gi-wang (elephant bile) and alcohols are added to make Zu-poe incense.\n\nMr. Lhundrup (80) learned the art of making incense sticks at the Government Incense Production Center in Thimphu, the capital of Bhutan, and worked for nearly 8 years. In 1918, after his retiremen, while some friends located their incense production more promisingly in the city, Lhundrup established the present incense production named Lhundrup Poezo-khang in his remote village of Urug in Chumey Gewog (block), Bumthang Dzongkhag (district), Bhutan. Currently, he supervises the production unit while his son Sangay Tenzin (50) takes the main role and his mother Uden (67) sometimes assists her son. Two other employees help them produce a plethora of incense sticks with five different types to meet consumer demand.\n\nProduction Process: Based on the license to produce incense sticks, the raw materials, especially dried junipers, are collected from the opposite foot of Yotong la (a mountain pass in the central region at 3425 meters above sea level) and the rest of the materials are purchased from the highlanders. After collecting the raw materials, they are chopped, dried in the sun and processed into fine powder with the help of an electric grinding machine. In the meantime, a helper prepares the extraction of water from the Six Valuable Substances. During mixing in the kneading machine, 80% of the raw material powder is carefully kneaded with the extracted medicinal water. After removal from the kneading machine, the dough-like incense is formed into a palm sized shape and placed into Tsir-shing (traditional wooden compressor) hole, creating a noodle like discharge while an employee places his or her body weight on the compressor liver. These noodle-like incense sticks are rolled between two wooden boards by the incense makers, cut evenly when the bottom wooden board is full, and dried in the sun. The incense sticks are tied into bundles using thread, dried again, and finally ready for making offering.\n\nphoto 1 : Finished product © Yeshi Lhendup\nphoto 2 : Raw materials being dried © Yeshi Lhendup\nphoto 3 : Drying right after the processe © Yeshi Lhendup\nphoto 4 : Incense being offered in the Local Shrine © Yeshi Lhendup\nphoto 5 : Raising of incense smoke © Yeshi LhendupYear2022NationBhutan
Open Archive 2
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Ura the Sacred Hidden Valley
Ura Valley, located in the Kingdom of Bhutan’s Bumthang District, was blessed as a sacred hidden valley by the renowned tantric master Padmasambhava, who was instrumental in bringing Vajrayana Buddhism to Bhutan in the 8th century. Centuries have gone by, and the Ura people have remained firmly rooted in their rich culture and traditions, which have been transmitted down from generation to generation. However, development activities come with a cost for these cultures vanishing to simply myths and stories. The Loden Foundation, a CSO since 1999, is committed to digitizing Intangible Cultural Heritages that are on the verge of extinction as time flies by; with the support of ICHCAP, Loden is immortalizing these elements while also educating and raising public awareness.
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Entering Buddhist temples in Vietnam
One of the religions practiced in Vietnam is Buddhism. With that, it is undeniable how scattered Buddhist temples are in this country. During my travel there, we were able to enter these temples and see the intricate the designs of the architecture and how 'golden' the offerings are.
Viet Nam